Swan Song, produced by Irish theatre company Jilted Bride Productions, is a camp melodrama providing commentary on the hypocrisy, corruption and egos of the entertainment industry.
Big Media, and their subsidiary Big Film, are the biggest conglomerate around. Headed by the evil Big Media Boss, she is on a mission to shut down anyone who disagrees with her. In an attempt to return to the spotlight, director Oswald recruits bygone diva Heidi Hole to star in his new play. When Big Media Boss fires journalist Samira Plath for her support of liberal activism, her father and renowned critic Skandar Plath returns to confront Big Media Boss, rehashing age-old secrets and scandals. After her father is murdered, Samira makes it her mission to take down Big Media Boss forever.
The cast and crew of Swan Song have faced many a struggle during their Fringe run, with two members of the cast falling ill. Last minute replacements were brought in with writer and director John Clarke stepping up to play Oswald and ensemble, and Lucy Richards-Smyrk playing the role of Samira. The pairs performances were astounding given such short notice – if you weren’t aware they had newly joined the cast you would be none the wiser. The adaptability of everyone on this production is truly commendable.
Fiona O’Sullivan plays the wicked Big Media Boss and her flair and commitment to the character is hilarious, she fully embodied the brusque and unforgiving persona physically and vocally. Big Media Boss’ sidekick Sarah Jessica from HR was played by Georgia Snow, and for me she was the highlight of the show. Her character absolutely had the best arc, seeing her go from lapdog people-pleaser, to empowered and in control. We really felt for her as she yearned for the approval of Big Media Boss as well as her fleeting lover. Snow’s characterisation was undefeatable. Our diva Heidi Hole (Marianne McCullen) was on-par, giving Norma Desmond in the modern age. Her chain-smoking, blunt, and prima donna act gave us a rich story of a woman weathered by the industry. Heidi’s co-star Isaac (Alexander Hristov) was charismatic, and his “audition” showed the full scope of his dramatic capabilities. His character was an excellent portrayal of the contrast in how men and women are held to different standards, especially in the public eye. And of course, Richards-Smyrk as the heroine, and her on-stage father (David Flood) were both powerful and grounding amongst the chaos of the melodrama.
Clarke’s direction, assisted by Ciara Kavanagh, was so fun and silly, including dance numbers and physical comedy. The satirical winks to the audience really added to the piece and they both approached the material with passion and heart.
Swan Song’s run at the Edinburgh Fringe is now over, but I hope this play doesn’t live up to its name. Especially given the unfortunate events of the run, I do hope the production gets another crack at it. This really was a whole lot of fun.
More information on Swan Song is available at https://www.thespaceuk.com/shows/2026/swan-song
Reviewer: Jessie Martin
Reviewed: 15th August 2026
North West End UK / Theatre Muse UK Rating:
Probably Samuel Beckett's second most famous work after Waiting For Godot, Endgame is, perhaps not…
Other than the closing line of one of Twonketta’s musical interludes, there was no ‘Soft’,…
The Scottish Chamber Opera dazzles again with its high-spirited rendition of Mozart’s Don Giovanni for…
Hidden Room Theatre produce this show from writer-director Beth Burns and writer-magician Patrick Terry, who…
Steak Out is the latest offering from Edinburgh born writer and actor Ruaraidh Murray, providing…
Blending musical comedy with medical commentary, Endometriosis the Musical tackles a global health issues with…